Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Micronesia and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Winnipeg kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Symarip to the grunge kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Major Organ And The Adding Machine. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
CMW,
Colin Newman,
the Association,
Skriet,
Avey Tare's Slasher Flicks,
Scion,
Sam Rivers,
Amon Düül,
Echospace,
Nico,
Brick,
48th St. Collective,
Cymande,
Nick Fraelich,
Saccharine Trust,
Scrapy,
Todd Rundgren,
Television Personalities,
Technova,
Bauhaus,
Drexciya,
Sexual Harrassment,
Pussy Galore,
The Move,
D'Angelo,
Bobby Hutcherson,
In Retrospect,
Jimmy McGriff,
Todd Terry,
Neu!,
H. Thieme,
Sex Pistols,
The Barracudas,
Make Up,
Duran Duran,
ABC,
The Electric Prunes,
Rufus Thomas,
The Angels of Light,
Lower 48,
Henry Cow,
Joyce Sims,
Maurizio,
James White and The Blacks,
The Residents,
The Modern Lovers,
Funky Four + One,
The Young Rascals,
The Evens,
Ash Ra Tempel,
Maleditus Sound,
The Names,
Thompson Twins,
Josef K,
Bobby Womack,
The Mummies,
Yellowson,
E-Dancer,
Cal Tjader,
L. Decosne,
The American Breed,
Justin Hinds & The Dominoes,
Heavy D & The Boyz,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.